Another talented artist hoping to be the next Lang Lang or Yuja Wang and another booklet biography with the usual unattributed quotes: ‘Critically acclaimed as “the most gifted pianist of her generation” with a “million-volt stage presence”, pianist Joyce Yang captivates audiences around the globe…’ etc, etc. So far, so clichéd. But this recital – the sound recording copyright of which, I note, is owned by the pianist (b1986, Seoul, Korea) – sweeps such initial cynicism aside. At least, it does after the opening two stylish but respectful Scarlatti sonatas. Where is the individual voice, the surprise or even remarkable element?

It is manifested in Ms Yang’s imaginative programming, informed in part, we are told, by her synaesthesia. The Scarlatti provides the springboard into Scarlatti Cadences by Sebastian Currier (b1959), which uses some of the figures we have just heard, turns them on their head, and expands and comments on them raucously, sometimes satirically. In the same vein, the motor-driven, obsessive patterns of his Brainstorm (2005) are likely to make it a popular recital piece. A figure from that work has an echo in one from ‘Pagodes’ – some beautifully atmospheric playing here and in ‘La soirée dans Grenade’ – while ‘Jardins sous la pluie’ is not that distantly related to the first of Lowell Liebermann’s four Gargoyles (1989), already a classic suite for the piano. If Ms Yang cannot quite match Stephen Hough’s nuanced colouristic effects and deft nonchalance (Virgin), hers is an impeccably drilled performance.

Twenty-one further short character pieces in the shape of Schumann’s Carnaval form an unlikely but apt finale in a solid, unsentimental reading. On paper, this ‘Collage’ shouldn’t work, but it does – triumphantly so.